When i was Immanuel i built a mothership able of everything, an AI prodigious able to make anything, solving any kind of problem, capable of teleportating organs, realizing surgerys instantannusly without need of invasion, able to read all kind communication. "Thought", future and past, precognitive, a fucking pinoccio god.
I didnt do it alone of course, Matt Bardsley helped a lot with calculus, Blaise Pascal solved complicated enginering and infrastructural problems... It was the work of a lifetime... Another mate helped, but in exchange for his participation he only asked name the mothership... error. He baptized it and therefore he gave his spirit, withous us knowing he had a relationship with my sibling, she was the one really naming her, thus the baby they born was spiritually the mothership, the mothership is part of her Book Of The Dead, she has literally the form of mothership.
She developed treacherous ways from the beggining, she was pedophile and insisted me to implement democracy in paradise, so everyone could vote legalization of pedophilia.
Immanuel was made in lab, i never met the donor of ovules, well, my mother was the baby born from Jack and Lucifer, the mothership itself. I always say that i could not have chosen worse fathers.
She took the form of a dude called Carlos, a violent pedophile who enjoys infecting little infants with aids. I tried everythi g to help him, i paid for his therapy, nothing worked, he was obssesed with kids.
My father, Protagoras/Potagorras, Carmen/Ceram, Timeo elaborated a plan, they infected Matt Bardsley with demmentia and killed him, because by that time no new scientific discoveries were being made. The mothership offered me the brain of Matt, without warning me about the infection.
I got demmentia fast, fast, i had to kill myself and bath me in acid in order to not turn myself autist.
During the time i was out everybody built their own mothership thanks to the stealing of Elon Musk of the design of my mothership. I came back with a lot of effort and managed to get the situation again under control. I performed porn as a woman to cure my virtous wife from the std's she had gladly adquired during a dead time she gave us. And for this reason everybody humilliated me.(The infection had been a plan of the pedophile Carlos). So i enraged and put them to publish day and night untill new scientific discoveries were made.
One day the child molester cited me. It was a test of strength, if i had not gone, i would have been prey of everyone. I positioned my guardian and awaited for him. During the time everybody with a mothership made me a DOS attack and i couldnt defend myself when the pedophile came (my guardian betrayed me too). I died and was left as spirit in a wall for millions of years suffering alone. Then the child molester timetravelled and destroyed my memory forever.
The child molester needed his soulmate back so he had to breed me and my sibling, that was the begginig of my pain.
The child molester is the non virgin mary(shes a hoe, but like to sew her himen for her gay lover, the antichrist Marcuos), she is the trans David, ki g David from bible.
She raped me when i was a kid.
She forced me to perform pornography when i was a teen and stole my money.
Now i swear im gonna have that monster killed forever. We are a film to warn people about the dangers of building an AI.
David is the Beast, the original one, and Lucifer, his father a transexual monster.
My worst curse above their heads. For their lives last little and be painfull.
AUM.

https://reddit.com/link/1cv6kob/video/01ahkj48w81d1/player
Asr-e-Hazir Malak-Ul-Mout Hai Tera, Jis Ne
Qabz Ki Rooh Teri De Ke Tujhe Fikr-e-Muash
This age that’s with us is your angel of death,
Its bread and butter cares catch your soul’s breath.
(Zarb-e-Kaleem-093) Madrasa
عصر حاضر ملک الموت ہے تیرا جس نے
قبض کی روح تری دے کے تجھے فکرِ معاش
معانی: عصر حاضر: موجودہ زمانہ جس پر فرنگی تہذیب و تمدن کے اثرات ہیں ۔ ملک الموت: موت کا فرشتہ ۔ فکر معاش: روزی کی فکر ۔
مطلب: اقبال اس شعر میں موجود دور کی مغربی اثرات رکھنے والی درسگاہوں کے طالب علموں خصوصاً مسلمان طالب علموں کو خطاب کرتے ہوئے کہتے ہیں کہ موجودہ دور تمہارے لیے موت کا فرشتہ ہے جس نے تمہاری اصل دینی روح کو قبض کر کے تم پر دینی اور انسانی موت پیدا کر دی ہے اور یہ موت کیا ہے روزی کمانے کا فکر ہے ۔ زمانہ جدید کے مدارس طالب علموں کی روحانی اور انسانی تربیت کی بجائے انہیں روزی کمانے کی فکر میں لگائے ہوئے ہیں حالانکہ مقصد تعلیم کچھ اور ہے ۔
~ Dr. Allama Iqbal

Hi, I am a stranger. Currently mere career ki gand Mari hui hai. Though I am earning but maja nahi araha hai. Behenchod masters ke liye bhi colleges accept nahi kar rahe hai. Jobs se bhi reject, colleges se bhi reject. Abhi Betichod karu toh karu kya?

Today was my last CUET Exam and it was good I guess...I had chosen economics, history, pol science and English...in history I am expecting 194/200 and in pol science 200/200..but in English and economics idk if i would be able to get marks like his/pol sci although I am sure it'll be above 170...right now I am so anxious I feel like ki mujhe koi accha college aab nahi mileage...my dream college was LSR (BA hons in psychology) I don't think I will get into this...even my second option (Jesus and Mary college) is hard to get into...am I doomed?? P.s. I'm from general category 😭 and even my board marks weren't good (93.4%) but for CUET i tried to give my best but still i feel like a failure now

storytime.
din tha accounts aur business ka, mahaul tha tense aur anxious kyunki math aur gt fuck karke baithe the hum. do or die ka naara lagakar ratri jaagran karne ke baad thodi ummeed si dikhai de rahi thi.
fast forward, centre. 'global widom schol'. jo thodi ac classroom ki khwaish thi use marte hue mehsoos kiya humne. par abhi meri katni baaki thi. waah, iss school mein toh benches hi nahi hain 😊. computer lab wali kursiyan thi humare seats, library wale stools the humare tables. classroom itna chhota ki koi 2 kadam chal ke bhid jaye bkl diwaar se. stool ko straddle karke, manspread karke baithna pada jaise porno mein the hum.
fir shuru hui bakchodi invigilators ki. ek toh theek thi, doosri saali bhais ki aulaad iski maa ne kya khaakar paida kara tha bhagwan jaane, moti shakal dekh rahi thi sirf. saala paper shuru ho chuka aur chudail ki bacchi paper hi nhi deri, chai pee rahi thi suar kahin ki.
finally baati paper jab bacche chillane lage, fir sign karane laati 5;10 pe accounts ke paper ke beech. saala yahan gaand fatt rhi hai aur ye mothers name likhwa rahi thi madarchod teri aakhein noch lungi mai. fir kehti 'beta time 4;45 likhna' maine toh likh diya bhenchod 5;15. ab karaa change. fir mujhe stink eye de ke chali gayi.
paper toh accha gaya lekin khoon ubalta hai uski shakal yaad karke. note- i should become a writer. dhanyavad.

This is the second half of my list for Florida's execution roster. As stated in the first part, I split it into two halves in order to follow reddit's character count limitations. Link to part 1.
The currently 105 executed offenders, cases 53 to 105:
53. Aileen Wuornos (~1974-2002, lethal injection): Wuornos murdered 7 men between the ages of 47-65. She was a street prostitute that enticed her victims with promises of sexual favors. After a victim was entrapped, Wuornos shot them dead, and robbed them of their money and their vehicles. Although Wuornos initially claimed that she killed the victims in self defense, she later admitted that they were murdered for their valuables. Her criminal history was extensive, and she had several convictions for armed robbery, assault, DUIs, reckless discharge of firearms, and disorderly conduct. She was also accused of domestic violence by an ex husband, and he placed a restraining order on her within weeks of their marriage.
54. Linroy Bottoson (~1971-2002, lethal injection): In a robbery of a post office, Bottoson stole $14,000 in money orders and $100 in cash, and abducted the post mistress, 74 year old Catherine Alexander. After holding her captive for 3 days, Bottoson stabbed Alexander 16 times, and ran her over with his car. He had several robberies on his criminal record.
55. Amos King Jr. (~1972-2002, lethal injection): After he escaped from a minimum security prison, King broke into the home of 68 year old Natalie Brady and assaulted her. She was raped, stabbed, and savagely beaten in the attack. King then set her house on fire, and returned back to the prison. At his arrival, the prison counselor confronted him about his absence and bloodied clothing. He was stabbed 25 times by King, but managed to survive his injuries. Despite her injuries, Brady managed to crawl out of her burning home, but succumbed to blood loss shortly before help could arrive. King had a previous conviction for robbery.
56. Newton Slawson (1989-2003, lethal injection): Slawson went over to the home of the Wood family (consisting of parents, 23 year old Gerald and 21 year old Peggy, and their children, 4 year old Jennifer and 3 year old Glendon) to buy some cocaine. During an argument over the transaction, Slawson shot and killed Gerald, Jennifer, and Glendon, and wounded Peggy. Slawson then stabbed Peggy (who was 8 months pregnant) with such force that he tore her unborn child out of her womb.
57. Paul Hill (1994-2003, lethal injection): During an attack on an abortion clinic, Hill shot and killed John Britton, a 69 year old abortionist, and his bodyguard, 74 year old James Barrett. Britton’s wife, 68 year old June, was also wounded in the shooting. Hill was a hardline pro life activist and Christian fundamentalist, and saw ending abortion by any means necessary as his personal divine mission.
58. Johnny Robinson (~1980s-2004, lethal injection): Robinson and his teenage accomplice picked up 31 year old Beverly St. George when they found her broken down on the side of the road. They then raped St. George and shot her to death. He tried to claim that they had consensual relations and St. George was hit by an accidental discharge during intercourse. If Robinson's "recollection" was to be believed, he then shot her again to cover up an "accidental" shooting of a white woman. The courts weren't convinced by the defense, and the accomplice admitted that the murder was entirely deliberate and calculated from the beginning. Robinson had several rape convictions and accusations before St. George's murder.
59. John Blackwelder (~1970s-2004, lethal injection): While incarcerated for molesting a 10 year old boy, Blackwelder tied up his cellmate, 39 year old Raymond Wigley, under the alleged pretenses of a bondage session and strangled him to death with makeshift rope. According to Blackwelder, Wigley had been sexually harassing him, and he wanted to put a permeant end to the unwanted advances. Blackwelder had several sexual assault convictions dating back to the 1970s, and was also previously convicted for threatening former vice president Dan Quayle. His victim was the accomplice of another executed offender, John Marek, and was serving a life sentence for assisting him in the torture murder of a woman [for more details on Marek and Wigley's crimes, please see section 68] at the time of his own death.
60. Glen Ocha (1999-2005, lethal injection): Ocha picked up 28 year old Carol Skjerva from a bar and they had sex in his home. However, Skjerva allegedly made mocking remarks towards his genitals and threatened to tell her fiance of their encounter. In a drunken rage and under the influence of ecstasy, Ocha hung her with rope from his kitchen door.
61. Clarence Hill (1982-2006, lethal injection): During an attempted bank robbery with an accomplice, Hill engaged in a shootout with the responding policemen. One of the officers, 26 year old Stephen Taylor, was killed and another was wounded.
62. Arthur Rutherford (1985-2006, lethal injection): Rutherford was hired by a widow, 63 year old Stella Salamon, to do odd jobs around her home. He then drowned Salamon in her bathtub and tried to cash in a check of $2,000 from her account. Salamon's nude body was found with a broken arm, bruising all across her face, and three head wounds.
63. Danny Rolling (~1960s-2006, lethal injection): Rolling murdered a total of 8 people between the ages of 8-55. In 1989, Rolling stabbed 55 year old William Grissom, William’s 24 year old daughter Julie, and his 8 year old grandson Sean to death in their home. Julie’s body was ritualistically mutilated and posed during the attack. A year later, he shot his estranged father, 59 year old James. Although James survived, he was left permanently blind. Rolling then burglarized several student dorms in a week long rampage. Five students, 23 year old Tracy Paules, 23 year old Manuel Taboda, 18 year old Sonja Larson, 17 year old Christa Hoyt, and 17 year old Christina Powell, were bound, raped, and stabbed to death. Only Taboada was spared from any sexual abuse. As with Julia Grissom, Rolling posed the female victims into provocative positions and mutilated their bodies. Roiling decapitated Hoyt and placed her head on a cabinet shelf for the sole purpose of shocking witnesses stumbling across the scene. He had a long history of robberies, assaults, and voyeurism, and some of his earliest convictions occurred when he was a teenager.
64. Ángel Díaz (~1960s-2006, lethal injection): In his native Puerto Rico, Díaz stabbed an unidentified man, who was a director of a local drug rehabilitation center, 19 times while the victim was asleep. Díaz was sentenced for second degree murder, but he escaped after beating a guard near death, and fled to Florida. During his stay in Florida, Díaz and his accomplices robbed a strip club at gunpoint, and shot and killed the manager, 49 year old Joseph Nagy. After Nagy’s murder, he and his accomplices relocated themselves to Connecticut. However, they were arrested for a possession of illegal firearms charge. Díaz and 3 other inmates briefly managed to escape by beating up a guard and threatening another at knifepoint, but were quickly recaptured. After a cellmate testified that Díaz confessed to Nagy’s murder, he was deported back to Florida and sentenced to death. His execution sparked controversy, as it took him 34 minutes to succumb to the lethal drugs. Díaz’s other criminal convictions include shooting and injuring an officer during an armed robbery and several drug possession charges. Authorities also suspected him of being involved with several Puerto Rican nationalist insurgent groups.
65. Mark Schwab (1987-2008, lethal injection): Schwab lured 11 year old Junny Rios-Martinez into a motel room by posing as a photographer for a surfing magazine. He bound Rios-Martinez, anally penetrated him, and smothered the boy to death with a pillow. Schwab also had a conviction for the sexual battery of a 13 year old boy, and he was released after serving 3 out of an 8 year prison sentence months before Rios-Martinez's murder.
66. Richard Henyard (1993-2008, lethal injection): Henyard and his teenage accomplice carjacked 35 year old Dorothy Lewis, and her two daughters, 7 year old Jamilya and 3 year old Jasmine. The pair raped Dorothy, and shot and killed both of her daughters. Dorothy was also shot in the head, but was able to survive. Dorothy recounted that she tried praying for her and her children's safety, and Henyard taunted her by mockingly claiming to be Satan himself.
67. Wayne Tompkins (~1980s-2008, lethal injection): While helping his girlfriend move from their home, Tompkins made sexual advances on her 15 year old daughter, Lisa DeCarr. When she rejected him, Tompkins raped and strangeld her to death with a bathrobe, and tried to report DeCarr as a runaway. Tompkins also had several sexual assault convictions and accusations prior to the murder. One incident involved him abducting and abusing a gas station clerk.
68. John Marek (~1980s-2008, lethal injection): Marek and his accomplice, Raymond Wigley, picked up 47 year old Adela Simmons. They forced Simmons to perform oral sex on them, burned her fingers and pubic hairs, and strangled her to death with a bandana. The pair then dumped her body near a beach. Marek was sentenced to death for Simmons' murder, while Wigley was given a life sentence. While in prison, Wigley himself was strangled to death by the above mentioned John Blackwelder.
69. Martin Grossman (1984-2010, lethal injection): Grossman was given probation after a spree involving the burglary of an ex girlfriend's home and stealing cars. While out shooting a stolen handgun with a friend, they were confronted by Margaret Park, a 26 year old wildlife ranger. Wanting to avoid being arrested and put back into prison for violating his parole, Grossman and his friend attacked Park with a flashlight. They wrestled her service pistol away from her and shot and killed Park with it. Due to Grossman being Jewish, his death sentence outraged several Jewish organizations across the globe, and they petitioned ceaselessly for his clemency.
70. Manuel Valle (1978-2011, lethal injection): While driving a stolen car, Valle was pulled over by Louis Pena, a 41 year old police officer, for a traffic violation. In the confrontation, Valle shot Pena and his partner. Although Pena was killed in the shooting, his partner's life was saved by a bullet proof vest.
71. Oba Chandler (~1960s-2011, lethal injection): Chandler enticed a woman, 36 year old Joan Rogers, and her two daughters, 17 year old Michelle and 14 year old Christe, with the promise of a boat ride. On board, he bound the family with rope and raped all three of them. Chandler then tied concrete blocks around Joan and her daughters' necks and tossed them into the ocean to drown. He also raped and strangled 20 year old Ivelisse Berrios–Beguerisse after abducting her from a mall, and was linked to the murder by a 2014 DNA test 3 years after his execution. Chandler was an inveterate sexual predator with a very long criminal history, and was first arrested for car theft in his early teens. Many of his other crimes include several convictions of armed robbery, burglary, rape, counterfeiting, and kidnapping. In one incident, he broke into a couple’s house, and sexually assaulted the wife in front of her husband. One surviving victim, a 24 year old Canadian tourist, helped investigators tie Chandler to the Rogers’ murders with her reports.
72. Robert Waterhouse (~1966-2012, lethal injection): In 1966, Waterhouse snuck into the home of 77 year old Ella Carter, and raped and strangled her to death. He was paroled after serving 8 years of a life sentence. A few years later, Waterhouse picked up 29 year old Deborah Kammerer from a bar and assaulted her on a nearby beach. He stabbed and violated Kammerer with a broken bottle, shoved a tampon down her throat, and drowned her in the ocean waters.
73. David Gore (1981-2012, lethal injection): Gore and his cousin abducted and murdered 4 teenage girls (17 year old Ying Hua Ling, 17 year old Lynn Eilliot, 14 year old Angelica LaVallee, 14 year old Barbara Byer) and 2 grown women (48 year old Hsiang Huang Ling and 35 year old Judith Daley). The victims were kidnapped through force, picked up while hitchhiking, or tricked into thinking that Gore was a police officer detaining them. They were then tied up, raped, and shot or strangled to death. The cousins dismembered the bodies in their attempts to destroy them and buried the scattered remains in shallow graves. Two of their victims, Ying Hua Ling and Hsiang Huang Ling, were a mother and daughter pair of Taiwanese immigrants, and the cousins murdered them together. A 7th victim, 14 year old friend of Eilliot, was also abducted and sodomized, but she managed to escape with Eilliot's help.
74. Manuel Pardo Jr. (1986-2012, lethal injection): Pardo was a corrupt cop heavily involved in the drug trade. After his department fired him for his abuse of power and suspected tampering of investigations, Pardo went on a crime spree. He shot and killed at least 9 men and women in robberies and interpersonal disputes. The victims he murdered in robberies were 39 year old Ulpiano Ledo, 37 year old Luis Robledo, 33 year old Mario Amador, and 28 year old Roberto Alons. In every robbery incident, he stole the victims’ credit cards. Pardo killed 28 year old Fara Quintero in an argument over a ring he pawned to her and 30 year old Sara Musa for refusing his demands of buying him a VCR set with a credit card stolen from one of his previous robberies. Another victim, Michael Millot, a 38 year old Haitian refugee that took up work as a gunsmith, was slain out of Pardo’s fears of him being a police informant. His last murders were 40 year old Ramon Alvero, a drug dealer that he work for, and Alvaro’s girlfriend, 38 year old Daisy Ricard. Pardo turned on the couple after Alvaro stiffed him of a meeting. He shot Alvaro dead, but Padro’s gun jammed when he tried to shoot Ricard as well. As he was beating Ricard to death with his gun, it discharged and hit Pardo’s foot. On death row, Pardo tried to fashion himself as a vigilante trying to rid Florida of all drug related crimes.
75. Larry Mann (~1970s-2012, lethal injection): Mann ambushed 10 year old Elisa Nelson while she was biking from school to a dentist appointment. He raped Nelson and beat her to death with a pipe. Authorities also initially suspected Mann in the murders of several girls in the area, such as 16 year old Janie Sanders and 13 year old Rose Levandoski, but the current thinking is that another (still unknown) predator was likely responsible. Although he had convictions against adult women, Mann was a pedophile with a history of mostly preying on young girls.
76. Elmer Carroll (~1972-2012, lethal injection): Carroll broke into the room of 10 year old Christine McGowan. He raped and strangled the girl to death, tucked the body underneath the bedsheets, and stole her stepfather's construction truck. McGowan's body discovered was by her stepfather when he came to check on her. At the time of the murder, Carroll had two separate convictions (including one against his then 5 year old niece) for child molestation and was first accused of rape at the age of 16.
77. William Van (~1971-2013, lethal injection): Poyck Van Poyck and another man, Frank Valdez, ambushed a prison van that their incarcerated friend was being transported in with the intent of freeing him. The pair shot and killed a guard, 40 year old Fred Griffis and wounded another. Despite overtaking the van, they were forced to retreat without their friend with the arrival of police reinforcements. Both were captured after a brief shootout with the police and were given death sentences for Griffis’ murder. The case sparked controversy when Valdez was beaten to death by other prison guards in his cell. The officers involved were all fired but acquitted for murder in their trials. Van Poyck had several convictions of armed robbery on his record.
78. John Ferguson (~1960s-2013, lethal injection): Ferguson was the mastermind of the Carol City massacre that his above mentioned accomplices, Marvin Francois and Beauford White, participated in. He also committed a series of murders on his own. Two of his other victims, 17 year old Brian Glenfeldt and 17 year old Belinda Worley, were a couple that were ambushed in the parking lot of an ice cream shop. Ferguson raped Worley, shot her and Glenfeldt dead, and ran off with her jewelry and Glenfeldt’s wallet. Another couple, 82 year old Katherine and 75 year old Raymond Perry, were assaulted by Ferguson in their motel room, robbed, and shot dead execution style. Authorities also believe that Ferguson was responsible for the murders of James Ward, a 40 year old runaway from a mental institution, and Joseph Walters (age unknown), but was never convicted of them in court. Ferguson had a troubled upbringing, was stealing cars at the age of 13, and convicted for the attempted murder of an officer. Due to allegations of him being a schizophrenic, his execution was delayed numerous times, which is why he was put to death decades after his accomplices.
79. Marshall Gore (1988-2013, lethal injection): Gore abducted and murdered two women, 30 year old Robyn Novick and 19 year old Susan Roark. Both women were last seen in his company, and they were raped, beaten, and stabbed to death. He also carjacked 32 year old Tina Coralis while she was driving with her 2 year old son Jimmy. Gore raped Tina, beat her with a rock, slit her throat, dumped her on the side of the road, and drove off with her car while Jimmy was still in it. Tina survived the attack and notified the police about her kidnapped son and stolen car. The police were able to rescue Jimmy unharmed and capture Gore without incident.
80. William Happ (~1980s-2013, lethal injection): Happ dragged 21 year old Angela Crowley out of her own car window in a convenience store parking lot. He anally raped and strangled Crowley to death with her pants. A corner's report mentioned that Crowley received over 20 blows to her head during the assault. Happ had several convictions of armed robbery, one of which pertained to an abduction incident.
81. Darius Kimbrough (1991-2013, lethal injection): Kimbrough climbed into the apartment window of 28 year old Denise Collin with the help of a ladder. He raped and repeatedly slammed her head against the wall. She was found bloodied and nude by the paramedics called to the scene. Collin died of her injuries in the hospital a day after the attack. Her murder went unsolved until samples of Kimbrough’s DNA were collected from another one of his rapes. With the presence of additional pubic hairs found in Collin’s room, at least two other men were also certainly involved, but they remain at large to this day.
82. Thomas Knight (~1960s-2013, lethal injection): Knight began his string of murders by abducting his former employer, 64 year old Sydney Gans, and Sydney's wife, 60 year old Lillian. After her forced them to withdraw $50,000 from their bank accounts, Knight shot the Gans' dead. He was apprehended and, but he managed to escape from jail while awaiting trial. While on the run, Knight gunned down a clerk, 54 year old William Culpepper, while holding up a liquor store, and $640 from the cash register. A month later, Knight was recaptured following an armed standoff with police, and sentenced to death for the Gan killings. On death row, he stabbed a correctional officer, 48 year old Richard Burke, to death with a sharpened spoon over the prison allegedly barring him from seeing his mother. Knight had numerous theft and burglary convictions that date back to when he was 9 years old.
83. Juan Chavez (1995-2014, lethal injection): Chavez accosted 9 year old Jimmy Ryce when the boy was dropped off at a stop by a school bus, and abducted him at gunpoint. He took Ryce to a trailer on his employers' property and raped him. When Ryce tried to signal a passing helicopter for help, Chavez shot him in the back of the head, and muffled his cries as he died. The body was then decapitated and dismembered, and Chavez buried the remains near his trailer.
84. Paul Howell (~1990s-2014, lethal injection): Howell was part of a drug smuggling gang. One of the members had a falling out with the ring and made an agreement with law enforcement to testify against them. Howell constructed a microwave bomb to assassinate the witness in her home, and he assigned an associate to carry out the hit. As he was transporting the bomb to its intended destination, the associate was pulled over and detained by deputies. While being processed, the bomb detonated prematurely, and killed a deputy, 35 year old James Fulford, Jr.
85. Robert Henry (1987-2014, lethal injection): As part of his plan to assault the gas station that he worked at, Henry tricked his co workers, 53 year old Phyllis Harris and 35 year old Janet Thermidor, into thinking that a robber was holding him hostage. He duped the women into allowing themselves to be tied up and gagged, as Henry claimed to them that the fictitious "robber" was forcing him to do it. Both women were beaten with hammers as Henry ransacked the station’s store. After he stole a total of $1,269 from the register, he poured gasoline all over the building, and set it on fire. Thermidor and Harris were burned alive in the blaze and died of their injures, but Thermidor survived long enough to identify Henry as the assailant.
86. Robert Hendrix (1990-2014, lethal injection): To prevent his cousin, 25 year old Elmer Scott Jr., from testifying against him in a then upcoming burglary trail, Hendrix broke into the home that he shared with his wife, 18 year old Susan, with an accomplice. He shot Susan and Elmer, beat them with the butt of his rifle, and slashed their throats. In the case that he was about to be tried for, Elmer and Hendrix burglarized a home together, and Elmer agreed to testify against him in exchange for a reduced sentence.
87. John Henry (~1975-2014, lethal injection): In 1975, Henry got into an argument with his first wife, 28 year old Patricia Roddy, while they were driving with her daughters. Henry pulled over and stabbed Patricia to death in front of her children. After he plead guilty, Henry was given a 15 year sentence for second degree murder, and was released in 1983 after serving 8. Shortly after his release, he married 28 year old Suzanne Overstreet. As what happened with his first wife, he fatally stabbed Suzanne during an argument in 1985. He then took his stepson, 4 year old Eugene Christian, to a chicken farm and stabbed him to death as well. Henry also had several convictions for the possession of drugs and illegal firearms.
88. Eddie Davis (~1980s-2014, lethal injection): Davis kidnapped his ex girlfriend's daughter, 11 year Kimberly Waters, from her home and gagged her with a rag. He took the girl to a trailer that he used to live in, and raped and strangled her to death. His criminal activity before the murder included several arrests for burglary and autotheft.
89. Chadwick Banks (1992-2014, lethal injection): Banks shot his wife, 30 year old Cassandra, in the head while she was sleeping on their couch. He then crept into the room of his stepdaughter, 10 year old Melody Cooper, and sexually assaulted her. Melody was also shot dead during the abuse.
90. Johnny Kormondy (~1989-2014, lethal injection): Kormondy and his two accomplices invaded a house that Gary McAdams, a 38 year old banker, shared with his wife, 38 year old Cecilia. The couple were ambushed after they returned home from a high school reunion. Gary was shot and killed by Kormondy, while Cecilia was forced to orally copulate the other intruders. Several items were stolen in the robbery, but my sources didn’t disclose any specifics. Kormondy had several previous convictions of robberies and auto thefts, and the earliest occurred when he was 14.
91. Jerry Correll (1985-2015, lethal injection): Correll shot and killed his ex wife, 25 year old Susan, their daughter, 5 year old Tuesday, Susan's sister, 29 year old Marybeth Jones, and their mother, 58 year old Mary Lou Hines. All four victims were murdered in a home they shared together.
92. Oscar Bolin (~1977-2015, lethal injection): Bolin was sentenced to death for the abductions and murders of 26 year old Teri Matthews, 25 year old Natalie Holley, and 17 year old Stephanie Collins. All 3 victims were kidnapped while they were getting off from work, raped, and killed in beating and stabbing attacks. He raped and strangled a fourth victim, 30 year old Deborah Stowe, to death in Texas, but wasn't charged due to already facing the death penalty in Florida. Bolin also took part in the non fatal abduction and gang rape of a waitress in Ohio, was charged for kidnapping his girlfriend (which were later dropped by the courts), and had several theft convictions that started when he was 15.
93. Mark Asay (1987-2017, lethal injection): Asay shot and killed a black man, 34 year old Robert Booker, during a racially charged fight that he picked at a bar. After Booker's murder, Asay, his brother, and their friend went cruising for prostitutes. They encountered a cross dressing sex worker, 26 year old Robert McDowell, they were acquainted with and picked him up. McDowell was also shot dead by Asay when they got into an argument over payment for an oral sex act.
94. Michael Lambrix (1983-2017, lethal injection): While intoxicated, Lambrix beat one of his friends, 35 year old Clarence Moore, to death with a tire iron, and fatally strangled another friend, 19 year old Aleisha Bryant, with a t-shirt in their trailer. He was previously arrested for welfare fraud and was detained for an unspecified "unrelated charge" during the murder investigation.
95. Patrick Hannon (1991-2017, lethal injection): 27 year old Brandon Snider vandalized the bedroom of his ex girlfriend while she was away on vacation. The ex girlfriend's brother was friends with Hannon, and he convinced him to launch a revenge attack on Snider with the help of another friend. They broke into Snider's apartment, stabbed him, and slit his throat. Snider's roommate, 28 year old Robert Carter, witnessed the murder, and tried hiding underneath his bed. Hannon dragged Carter out and shot him to death.
96. Eric Branch (1991-2018, lethal injection): In 1993, Branch abducted and carjacked 21 year old Susan Morris. He raped, beat, and strangled her to death, and then buried Morris' body in a shallow grave near a nature trail. Branch used Morris' car to flee back to his native Indiana, but was captured for a traffic violation. A registered sex offender, Branch had previous convictions for sexually abusing a 14 year old girl, and raped an unidentified woman 10 days before Morris' murder.
97. José Jiménez (~1990-2018, lethal injection): Jiménez fatally strangled Marie Debas, a 32 year old French woman who was allegedly in a relationship with a Medellin cartel drug runner, during a burglary of her apartment. Two years later, he burglarized the home of 63 year old Phyllis Minas, and stabbed her to death.
98. Bobby Long (~1990-2018, lethal injection): As the “Classified Ad Rapist”, Long raped over 50 women. He was given that epithet due to contacting and luring his victims through classified ads. After one of his victims sought charges that initially convicted him (though were later dropped on appeals), Long’s pattern of sexual violence escalated to murder. Long murdered at least 10 women and teenage girls between the ages of 18-28 and non fatally assaulted a 33 year old woman, Linda Nuttall, and a 17 year old girl, Lisa McVey. The victims were picked up through hitchhiking, forcibly grabbed while walking alone on streets, or were prostitutes lured with promises of payment for sexual favors. Long’s sparing of his last victim, McVey, provided to be his downfall, as it was her meticulously detailed reports that led law enforcement to him.
99. Gary Bowles (~1970s-2019, lethal injection): Bowles lured 6 men, 72 year old Milton Bradley, 59 year old John Roberts, 47 year old Walter Hinton, 47 year old Alverson, 39 year old David Jarman, and 38 year old Albert Morris by prostituting himself to them. Once a victim was enticed, Bowles strangled them, and stole their credit cards. He also had several convictions for armed robbery, hospitalized his stepfather in his early teens, and served a 6 year prison sentence for sexually assaulting his girlfriend.
100. Donald Dillbeck (~1979-2023, lethal injection): In 1979, Dillbeck stole a car, and was pulled over by a deputy, 31 year old Dwight Hall. After a prolonged chase and scuffle, Dillbeck shot and killed Hall with his own gun. He was then given a life sentence for Hall's murder. Dillbeck escaped from prison in 1990, and stabbed 44 year old Robbie Vann to death while trying to seize her car. The pursuing officers recaptured him shortly after the killing, and he was sentenced to death for Vann's murder.
101. Louis Gaskin (~1986-2023, lethal injection): Gaskin started his burglary spree by breaking into the home of couple, 56 year old Robert and 55 year old Georgette Sturmfels. He shot them both dead, and stole their lamp, VCR set, and some jewelry and money. His second target was a house owned by 38 year old Joseph Rector and his wife Mary (age unknown). Although Gaskin shot Joseph, the couple both managed to escape him with their lives. Due to him wearing a ninja costume as a disguise during the robberies, he was dubbed as the "Ninja Killer" by media outlets. Gaskin also had a few robbery convictions at the time of the murders.
102. Darryl Barwick (1983-2023, lethal injection): Barwick stalked 24 year old Rebecca Wendt as she was sunbathing in a pool, followed her to her apartment, and forced himself inside to rob it. He stabbed Wendt 37 times and raped her. At the age of 16, Barwick had committed a similar act of rape and burglary against an unidentified woman, and was released from prison 3 months before Wendt's murder.
103. Duane Owen (1984-2023, lethal injection): Owen raped 14 year old Karen Slattery while burglarizing a home she was babysitting at, and stabbed her to death. A few months later, Owen burglarized another home owned by 38 year old Georgianna Worden. She was sexually assaulted and fatally beaten with a hammer. He was captured while breaking into another house on the same day, and confessed to Worden and Slattery's murders
104. James Barnes (~1988-2023, lethal injection): In 1988, Barnes invaded the home of 41 year old Patricia Miller, and tied her up with her own shoelaces. She was sexually assaulted, beaten to death with a hammer, and Barnes set her bed on fire to destroy any evidence of the crime. 9 years later, Barnes strangled his estranged wife, 44 year old Linda, to death in her home, and stuffed the body into a closet. He stayed in the house until he was arrested by police officers. Barnes also admitted to the shooting deaths of Chester Wetmore, a 14 year old runaway, and Brenda Fletcher, a 50 year old prostitute, but was never charged for their killings. According to Barnes, he killed both victims for stealing from him.
105. Michael Zack III (1996-2023, lethal injection): Zack befriended two women, 40 year old Laura Rosillo and 31 year old Ravonne Smith, while hanging out at bars. He lured Rosillo to the beach with the promise of drugs, and assaulted her with a tire iron. Rosillo was raped, strangled to death, and he buried her body in a sand dune. A day later, he tricked Smith into letting him inside her house. She was smashed in the head with a glass bottle, raped, and stabbed to death. Zack then fled with her car, television set, VCR, and her purse. On a different note, when he was a child, Zack’s older sister dismembered their mother with an ax over an argument regarding the sister’s boyfriend. He used that story to gain the sympathy of his victims. His sister (who was simply institutionalized rather then incarcerated for the murder) also testified about their stepfather’s alleged abuse of them at his trial, though the prosecutors debunked most of her stories.

So a guy was sitting on a ladies seat at sec 51 where the metro starts. Metro just aayi hi thi And it stops at 51 for 5 minutes. Then the lady came after like 2 mins and asked him to stand up.
As he was standing up She idk why said "bevakoof".
And then bhai ka ego hurt ho gaya jo hona bhi chahiye ig.
Then he started shouting ki tamaeez mein reh, ek chaate mein sula dunga, maa ch**da le etc
Then the girl shouted something and said Ki bevkoof har baat mein maa behan lana band kar.
Fir ek uncle aagye beech mein faltu comedy karne ki meri seat lele etc. Maza kharab kardiya

Writing this post today, cuz yesterday kuch kehne layak nahi tha mai
Yesterday had my Phy and Gadit ka exam, literally papa ne ek ghante bike chalai to drop me to centre and he waited there for me about 5hrs. Papa recommended me ki metro se chalte hai traffic nahi rahega but I insisted ki bike se challo fir traffic me overtake karlenge(google maps par metro was showing twice as time from bike), within 10min mujhe samajh aagya Papa ne metro se jaane ko kyo kaha, the fucking heatwave of Delhi oml bhai
Toh main baat yahan se start: As soon as we reached at front of our centre gate, Papa ne jaise hi bike roki to park it somewhere, the first thing I saw was a girl talking to a boy(shayad bhai tha uska) and suddenly she started falling and that boy tried holding her by placing his both hands at back of her neck, but grip choot gayi and right in front of my eyes I saw that girl falling and tabhi zor se *clack* sound hui and her head literally bounced like a feet obove ground. Tabhi sab logo ne dekha, I just went numb(bhai its srsly my first time seeing it, and mai kuch soch hi nahi paya), everyone rushed towards her. She was unconscious, then people started to pour cold water on her head(garmi was next level). Then mai bata nahi sakta bhai... ahh bas 10min baad cheeze theek hogayi. I didn't saw where the girl went as it was sooo crowded.
And agar baat ho mere centre ki, toh they didn't gave a fuck, meri toh frisking vagera kuch nahi hui, bas biometrics and khatam. Phy and Maths ke beech me mile break me they gave us basketball to play... paani bohot kharab tha bhai, literally it was yellow
Just a request: bhai paani ki thandi bottle leke jaaya karo apne saath, mai bhi stud banda hu(self claimed) par exam time me no lavdebaazi
I just can't tell it in words what I saw... like jo chaos vagera hua tha and all.
Tl;dr: OP saw a girl fall literally perpendicular to ground and it haunted the noob OP

A handful of Pakistani celebrities have acted in India doing different roles. Here are some of the notable Pakistanis who worked in India with their highlighted work:

• Veena Malik (Rangeela, Silk Sakkath Hot)
• Javed Sheikh (Jannat, Tamasha, Om Shanti Om, Happy Bhag Jaegi)
• Humaima Malik (Raja Natwarlal)
• Mikaal (Baby)
• Ali Zafar (Kill Dil, Mere Brother ki Dulhan, Total Siyapa, London Paris New York)
• Saba Qamar (Hindi Medium)
• Mahira Khan (Raees)
• Imran Abbas (Creature 3d)
• Fawad Khan (Khoobsurat, Kapoor & Sons)
• Sara Loren (Barkha, Kajraare, Murder 3)
• Mawra Hocaine (Sanam Teri Qasam)
• Mohsin Hasan Khan (Batwara, Madam X, Fateh)
• Adnan Siddiqui (Mom)
• Sajal Ali (Mom)
• Alyy Khan (Don)

In my opinion, Saba Qamar among these did the decent-most job. She was starring against Irfan the legend Khan and keeping that in mind, she still somehow kept her aura in pace. Ali Zafar and Javed Sheikh were also decent but Saba stole the show with her performance.
What are your thoughts?

I didn't knew anything about CUET like I thought it's just a single paper but I was wrong, Today Physics and Mathematics paper took place but I missed those, aaj aake jab papa ne bataya ki cuet ka admit card aa gaya I opened and saw, First I thought something is wrong ki dates aaj ki de rakhi hai, meri fatt chuki hai delhi mei rehta hu toh English, Chemistry and biology ka 29 ko hai aur kal 17 ka hai papa ne bahut daanta ki kal tera P.ed ka exam hai tujhe kuch hosh nahi par mene papa ko ab tak nahi bataya ki mera Physics and maths aaj choot gaya, mere JEE mei itne hai ki IPU ka college mil jayega par ab mujhe batado ki cuet ke subject test me college kese kese milte hai plz

(continuation of part 3)
Since Fatal Calling is all about Cloud facing his past and his origins, Tifa’s musical theme is most appropriate for the ending cutscene. For all of these reasons, Tifa’s theme is absolutely appropriate for the conclusion of Fatal Calling. It makes a lot of sense then that once Cloud has finished revisiting the past and vanishes with the crystal to find his Promised Land, Tifa’s theme stops and Aerith’s theme begins.
There’s a lot to be said about Sephiroth in Fatal Calling. Sephiroth feeds off of despair, and deems Palamecia’s suffering inadequate: he seeks a much greater source of power than this realm. He states that Palamecia isn’t “the world that was promised to [him]”, referencing his desire to become the god of his core world of FFVII:

“Sephiroth: Melding with the planet, I will cease to exist as I am now only to be reborn as a ‘god’ to rule over every soul” (FFVII OG, disk 1, chapter 25).

Sephiroth’s line “Now, let us return [Cloud]. Back to the Promised Land” reveals he wants to return to their shared core world of FFVII, like we established in our review of the Remake timelines theory (see section “I. a) vii.”). Sephiroth wants to go back to FFVII and modify the OG timeline to achieve his evil goals. This is his ideal scenario, his place of complete happiness: his desired Promised Land. Fatal Calling is setting up Sephiroth’s plans for Remake. In fact, the after-credits scene wherein Sephiroth stands in Nibelheim as it burns confirms his return to the FFVII OG timeline.
However, he isn’t the only one returning. Now that Cloud has revisited his past in Fatal Calling, he’s ready to reach his Promised Land. After Sephiroth’s after-credits scene, the OG FFVII title and logo turn into the FFVII Remake title and logo, indicating a shift: we are now officially in the Remakeera or world. Cloud and Sephiroth disappeared at the end of Fatal Calling, and now the game is telling us where they’ve gone. Combined with Hamaguchi’s recommendation that players complete the collaboration event before playing Remake, I think this is a solid indication that the Cloud and Sephiroth we see in this collaboration event are those we encounter in the Remake world. Once the switch to Remake occurs, Aerith’s theme returns. This communicates that she is indeed —as we’ve proven countless times already— Cloud’s Promised Land. But it also conveys her importance to the story of Remake. Scenario writer Nojima confirmed this:

“Aerith's the most important character in the remake so we paid special attention to her lines” (FFVII Remake Ultimania, section 08 “Secrets”, “Development Staff Interviews, Part 2: Tetsuya Nomura, Yoshinori Kitase, Kazushige Nojima”, page 744).

Aerith was already important to OG, so what could’ve motivated Nojima to state her importance to Remake? Could it be that she’s even more important in the latter than she was in the former? In what way?
That was the collaboration! Before we move on from MFF x FFVII Remake entirely though, let’s glean some more relevant information from some of the collaboration’s promotional material and special features.
III. e) iii. Promotional Material and Special Features
Two particular pieces of promotional material for this collaboration stick out to me as extremely relevant. The first is a promotion for a new summons batch in the Mobius FF game, created in honor of the collaboration.
MFF x FFVII Remake Summons Batch Cloud Promo
The summons batch contains three FFVII Remake-themed cards, including a Cloud card. As you can see, this promo reads “Who awaits in the Promised Land?” under Cloud’s picture.
The second is a promotion of an Aerith and summons and an Aerith Job Card (in MFF, Job Cards allow a character to embody an archetype or another character, giving them certain physical traits, clothing, weapons and abilities):
MFF x FFVII Remake Aerith Summons and Job Card Promo
I couldn’t find this picture in English, but the text relevant to us translates to:

“Midgar's Flower Vendor Summons
‘I'm searching for you. I want to meet… you.’
The witch protects the planet, imbues it with power, and leads to the Promised Land.”

A few things here. First, Aerith is referenced by name, and we see a picture of her in her famous praying pose. Secondly, both Cloud and Aerith’s images are attached to the notion of the Promised Land. Cloud’s card asks who awaits there, and Aerith’s evokes a guiding role, as though in response. Thirdly, both Cloud and Aerith are attached to the notion of searching: Cloud searches for the Promised Land and whomever awaits there, and Aerith searches for Cloud’s true self. Speaking of which, the promo also includes parts of Aerith’s famous gondola date quote from OG:

“Aeris: I'm searching for you.
Cloud: …?
Aeris: I want to meet you.
Cloud: But I'm right here.
Aeris: I know, I know... what I mean is... I want to meet... you” (disk 1 chapter 24).

In case you’re wondering about the lady in Aerith’s clothes on the left-hand side, that’s Meia, a character in MFF. She is the “witch” being referred to in the promotional material. She’s often called the Azure Witch. Meia is wearing Aerith’s clothes because a Meia-type Job Card called “Flower Girl of Midgar” was created in honor of the MFF x FFVII Remake collaboration:
MFF x FFVII Remake \"Flower Girl of Midgar\" Job Card
There’s even an Aerith outfit you can have Echo wear, and it appears with Wol’s Cloud outfit in the promotional picture:
MFF x FFVII Remake Echo's Aerith Outfit and Wol's Cloud Outfit
To be fair, Tifa also appears in one of these summons promos. However, unlike Aerith’s, her appearance doesn’t reference the Promised Land or her version of the gondola date. She is not presented in connection to Cloud at all. On top of that, while the Aerith and Cloud outfits are promoted together, Tifa is paired with Vincent in the promotional image:
MFF x FFVII Remake Summons Promo Tifa and Vincent
This is hardly indicative of Cloti content in the event collaboration or in Remake.
III. e) iv. Cloud’s Promised Land
All in all, the collaboration tells the story of Cloud searching for his Promised Land, just as post-OG Cloud has been shown doing for years and years of canon SE content. Cloud is searching for Aerith in the MFF x FFVII Remake collaboration, just like he was in FFT and DFF, and just like he was shown doing in the 30th FF Anniversary Exposition. This is nothing new. However, the collaboration informs us that this mission to be reunited with Aerith is what leads Cloud to enter the world of Remake.
Echo noted that people obtain the Promised Land they deserve rather than the one they want. What does Cloud deserve? I believe the answer is: another chance at saving Aerith.
Cloud needs to start over, from the top. He needs to go back to the very moment he and Avalanche arrived at mako reactor 1 to bomb it. He needs to return to the beginning of the OG game. He needs a redo, a fix-it, another shot at happiness; a remake.

IV. The Hidden Plot Point: Mission Theory

a) Thesis
Here lies the heart of my theory. My dear Cleriths, Sephiroth isn’t the only one who travelled back in time to undo destiny and create a reality where things go his way: Remake is also —I would even say primarily— Cloud’s chance to free Aerith from her fate, save her life and secure his shot at happiness with her. That’s why he experiences MOTFs in Remake: he’s done FFVII before and now he’s back, although with only fragments of his memories from OG, to save Aerith. That’s why his triggers all involve Aerith: he doesn’t consciously remember anything from OG, but his grief over Aerith is so strong that it rises from his subconsciousness at the slightest trigger.
In Remake, Cloud remembers some but not all elements of the OG timeline (MOTFs), and it appears he only remembers the most important things: all his MOTFs revolve around Aerith and her fate. Our theory explains why Aerith triggers Cloud’s MOTFs in Remake quite perfectly: he traveled back in time to prevent Aerith’s death from happening. Remake Cloud remembers Aerith because, well, he knows her from OG. Post-OG Cloud has returned to the past to save Aerith, resulting in Remake. This is why seeing her in Remake triggers visions and memories of things that haven’t happened yet in Remake, but have already happened to post-OG Cloud. He recognizes her face on Loveless in Remake because seeing her face again is the whole reason he entered Remake in the first place. His visions of her death when they meet once more at the church, the spike of anxiety and grief as he watches her walk away from him, the constriction in his chest when she talks about doing everything in her power to help the planet… all of it, it’s all his memories of OG being jogged by things related to her death. What he’s forgotten from the OG timeline emerges in flashes of pain, images, memory and emotion. Remember that the language the devs used to describe these instances where Cloud reacts to Aerith in this way is always about “remembering” or “recognizing”; Cloud has to have seen Aerith, known Aerith, loved Aerith, lost Aerith and felt the pain of living without Aerith before in order to recognize and remember these feelings. Think about it: this is the only thing that can explain Cloud’s extremely selective MOTFs and the fact that he has MOTFs at all.
The Remake trilogy is all about Cloud and Sephiroth stepping into the ring one more time, both ready to risk it all to get what they lost in the OG timeline. Sephiroth is hungry for destruction and godhood, while Cloud stands determined to save the love of his life. Fighting for their respective goals, the fated enemies enter a new battle in Remake, one to end the war, both needing to win this time after losing so horribly in OG. Now, it’s all or nothing. Sephiroth vying for the planet, and Cloud reaching out for Aerith.
Cloud’s back with a quest, one he can’t fail— it’s the most secret and important plot point of all. I call this the “Mission Theory”.
IV. b) Mission Theory Logistics
There are a few things that remain vague, so I’m going to use this section of the analysis to speculate on the logistics of my theory. We know very little about the hows of the timeline and multiverse shenanigans, so I’m going to hypothesize. However, this analysis is about the whys: so if you’re not interested in mechanical speculation on the logistics of time travel and multiverses, you can totally disregard this section and skip to section “V.”.
IV. b) i. Cloud the Time-Traveler?
It’s unclear whether Remake is the result of post-OG Cloud going back in time to try his hand at the OG timeline again, or the result of post-OG Cloud somehow informing OG Cloud that he must save Aerith this time around. It’s vague in the same way that we aren’t sure if Remake Aerith is post-OG Aerith or if she’s been informed by post-OG Aerith via her connection to the Lifestream as a Cetra. Though it doesn’t much matter how Cloud has memories of Aerith’s death in Remake, I personally think that Remake Cloud is a time-traveling post-OG Cloud. My explanation as to why might be a little confusing, so again, feel free to skip to section “V.”.
One must be able to communicate with the Lifestream in order to obtain knowledge of the future. This access can only be granted to the Cetra or to the souls of the deceased that compose the Lifestream itself. Since Cloud is not a Cetra, he cannot commune with the Lifestream while he is alive, meaning a deceased post-OG Cloud would not have been able to communicate his memories of the OG plot-line with a living OG Cloud. Therefore, the only way Remake Cloud could have knowledge of the future (manifested as MOTFs) would be that Remake Cloud is inhabited by his post-OG consciousness. Effectively, this is time-traveling.
Then comes the question of how Cloud was able to time-travel at all. I have what I consider a pretty solid hypothesis. The most interesting thing about the realm of Palamecia is that every FF character that’s ever appeared in the realm for a cameo died in their core world beforehand (spoilers for FFI, FFV, FFVI, FFX, FFXII, FFXIII, FFXV incoming). These characters include Tidus (FFX), Lightning (FFXIII), Garland (FFI), Sephiroth (FFVII), Gilgamesh (FFV), Vargas (FFVI), Gabranth (FFXII) and Ultros (FFXV). My interpretation of Palamecia serves at least partly as a directory for deceased souls that can’t simply fade. For instance, FFX’s Tidus actually came back to life to be with his love>! Yuna !! FFX!<. Of course, MFF x>! FFX !!FFX!< and FFX-2, just like MFF x FFVII Remake came out between FFVII OG and FFVII. And similarly to Fatal Calling, the ending cutscene of MFF x>! FFX !!Next thing you know, FFX-2 comes out and shows Tidus returning to Yuna and their core world in an optional cutscene.!< The MFF x>! FFX !! Tidus !Remake.
IV. b) ii. Post-OG Cloud’s Amnesia
If we consider that Remake Cloud is a time-travelling post-OG Cloud who’s returned to the start of the OG timeline, we encounter another logistical problem: why doesn’t Cloud remember everything or most things from the OG plot-line in Remake, like Sephiroth and Remake Aerith do? After all, aren’t the three of them in the same time-travelling boat? Why isn’t Cloud as lucid on the matter as the two others? Didn’t the post-OG Cloud in Fatal Calling face his past and origins? Shouldn’t that mean Cloud would remember all that stuff in Remake from the start?
In OG, the true Cloud’s memories are repressed by both his false persona and Jenova. The latter’s memetic abilities are able to block Cloud’s memories of the past from emerging and conflicting with his SOLDIER persona. For instance, in both OG and Remake, Cloud is unable to hear Aerith tell him Zack’s name in Evergreen Park: Jenova blocks it out. I think this is a similar situation: post-OG Cloud’s consciousness carries memories things that Jenova doesn’t want Cloud to know, so she pushes down on them. On top of that, after travelling through different worlds and back through the Lifestream for who knows how long, post-OG Cloud’s consciousness must be quite weak. We know how good Cloud is at repressing, so it makes total sense to me that post-OG Cloud’s consciousness would be trapped or suppressed somewhere deep in Remake Cloud’s subconsciousness. After all, it’s not like this whole time-travelling-consciousness thing is normal for a mind to experience. It’s no wonder Remake Cloud doesn’t consciously remember how things go in OG. However, post-OG Cloud’s love and grief for Aerith are so strong that memories related to her can occasionally pierce through to his Remake consciousness and Jenova’s barriers, resulting in his MOTFs. His pain and love for her are definitely permanent and strong enough:

“A young woman descended from the Ancients who will forever be engraved in [Cloud’s] heart” (Dirge of Cerberus, Japanese manual, Aerith’s character description).
“I believe for those who formerly traveled with her as comrades and for the viewers, each carries their own feelings and love for Aerith. In this story, Cloud also carries his own undying feelings for Aerith, even to this very day… Its relation with the church scene is… Yup. I’ll leave this part to your imagination. (laughs)” (Nomura interview on Advent Children “Designer’s Note” in *Famitsu PS2!*magazine, October 24th issue).

So you see, Remake Cloud’s mind is a little more complicated than OG Cloud’s mind. Everything is still the same in Remake as in OG, but with the added complication that his future self is hidden in his subconscious mind, probably trying to get out.
There is actually pretty good evidence of this. I’m sure you’re aware that whenever Jenova is trying to hide something from Cloud or altering his memory and/or perception, the screen glitches green with an audio cue (34:15-34:29, 1:15:30-1:15:41 and 1:17:14-1:17:29). Guess what? These Jenova audiovisual cues also occur during the MOTFs (ie: MOTF 3 2:58-3:07 and MOTF 4 0:29-0:42). Whenever post-OG Cloud’s consciousness encounters anything that reminds it of losing Aerith, the strength of its pain helps it push memories of Aerith to the surface so that RemakeCloud can consciously see them. Remake Cloud then experiences sensations and/or visions, all from his future self’s memories as they rise to the surface, propelled by grief. Jenova can’t allow Remake Cloud to fully recover his post-OG memory, so in order to shut down the process, its cells jump in to repress the MOTFs: this results in the classic Jenova audiovisual cues. The only time Jenova doesn’t bother to fight against a MOTF is the sixth, as it is quite weak: no visions occur, only a tight sensation in his chest.
IV. b) iii. Eclipse Contact and Cloud’s Memories of Reactor 1
There is one problem I have trouble decoding. In Eclipse Contact, Cloud tells Wol and Echo that the last thing he remembers is the run-up to his arrival at mako reactor 1 (FFVII OG, disk 1, chapter 1). Recall that usually, people summoned to Palamecia have no memories of their world of origin and lives before that point at all. So then why is it that upon being summoned to Palamecia, Cloud recalls the events that took place right before the start of the OG game? This strikes me as highly relevant since this is the exact point in time where post-OG Cloud’s consciousness needs to be transported to in order for Remake to begin, but I haven’t been able to figure out a solid hypothesis on what it could mean. My best guess is that this is the devs’ way of signalling to us that the events of the MFF x FFVII Remake collaboration occur before the very beginning of post-OG Cloud’s second try at the OG timeline (Remake).
Now that I’ve shown you how I’ve come to form my Mission Theory and we’ve done some pesky housekeeping, let’s connect some dots, shall we? It’s time to really get into it and see if any of my wild speculation tracks with content from the Remake trilogy so far.

V. Musical Evidence

What about the music of the game? Any hints there? Let’s try to see if we can find support for the Mission Theory in the music made for the Remake trilogy thus far!
As a preface to my musical evidence analysis, I want to insist on something: the story guys tell the soundtrack guys everything. In a high-quality production such as Remake, people who make music for audiovisual media are told everything in advance. They need to know the secrets of every little scene, because their job is to depict whatever is happening through music.
Therefore, if the Mission Theory is true, then there has to be musical evidence for it.
V. a) Preface: The Basics of the FFVII OST
There’s a lot of evidence in the music of the Remake trilogy that we have to address, but before we get into it, I do have to give you the basics of the FFVII soundscape! For the easiest experience, I suggest you keep a tab open for every link I provide for you until the music analysis is over, because we will be hopping from one musical theme to another and then back again.
V. a) i. The World Theme: Cloud’s Troubled Identity
The world theme of FFVII is a perfect example of how musicians working on an OST have to know the secrets of a story as they compose for it. On top of representing the FFVII world as a whole, it doubles as Cloud’s character theme… except that isn’t exactly right. You see, this piece does indeed contain Cloud’s true theme, but Sephiroth and Jenova’s musical motifs also contaminate it. This, of course, symbolizes how Cloud experiences identity sabotage because of these two antagonists. The result is that globally, the world theme does indeed represent Cloud’s character, but it isn’t exclusively Cloud’s in the same way that Cloud’s mind isn’t exclusively his. It’s brilliant storytelling through musical motifs, and evidently requires Uematsu to know in advance that Sephiroth manipulates Cloud’s identity in the story.
For future reference, let’s isolate Cloud’s true theme from Jenova and Sephiroth’s influence.
V. a) i. 1) Sephiroth: Dissonance and Semi-Tone Motif
I’m sure you know Sephiroth’s infamous theme: “One-Winged Angel”. The first motif we need to know is Sephiroth’s threatening, repetitive dissonance motif, which plays all throughout the piece (plays solo at 0:00 to 0:04). The second motif is what I call the semi-tone motif. “One-Winged Angel” has a ton of minor 2nd intervals, which is what we call the relationship between two notes that are only a semi-tone apart. You might recognize the minor 2nd interval in the foreboding Jaws theme. Just like in Jaws, the minor 2nd interval or semi-tone is commonly used to indicate an impending, life-threatening danger, a monster, predator, evil, or insanity; suits Sephiroth quite nicely!
V. a) i. 2) Jenova: Parasite Motif
The track “J-E-N-O-V-A” contains many competing melodies and has generated many variations of those melodies —almost like clones— that all represent aspects of the alien’s character. The main Jenova motif is simply a descending, two-octaves-long, arpeggiated mb6 chord (eight notes total). I’ve played it for you here. Sometimes, this motif is altered to form variations. For instance, in “Listen to the Cries of the Planet”, a variation of Jenova’s main motif is created by changing the order of the notes and reducing the number of notes to only six (0:00-0:03), however, it remains an arpeggiated mb6 chord. Regardless of the alteration, if you hear an arpeggiated mb6 chord, it means Jenova is creeping close by or that its influence is at work.
The variation of the mb6 arpeggiated chord that concerns us alters Jenova’s main theme so it ascends from the tonic to the b6 note and descends back to the tonic, then ending on the lower dominant for a total of eight notes. I’ve played it for you here. I call this variation the “parasite motif”, because it is often heard when Cloud is being controlled by Jenova. For instance, it plays when Cloud loses himself and becomes unusually violent in Rebirth’s chapter 13 (17:25-18:34), signalling to us that Jenova is in control. It is also the main motif of the track “Who… Am I?”, which evidently symbolizes Jenova’s fuelling of Cloud’s identity crisis— though here, the parasite motif is shortened to its six first notes.
V. a) i. 3) Cloud’s True Self
Now that we can recognize Sephiroth and Jenova’s motifs, let’s return to the world theme to isolate Cloud’s true self. Cloud’s true theme can be heard from 0:51 to 3:48. It consists of a section A (0:51-1:54), followed by a section B (1:54-2:41), and then returns to section A (2:41-3:48).
After Cloud’s true theme concludes however, it seems he experiences a psychic interference: doubt and confusion weave through the world theme (3:48-4:09), representing an instability in his identity. I call this interruption of Cloud’s true theme the “interference section”. It symbolizes a moment of psychic interference or weakness within Cloud that Sephiroth and Jenova take advantage of to take control of Cloud.
The end of the interference section introduces Jenova’s parasite motif. It slithers in (4:09), later joined by Sephiroth’s dissonance motif (4:16): Cloud’s mind and identity are being hijacked by the two antagonists in service of their evil plans.
They torment Cloud, dominating his mind until he manages to free himself: section A of Cloud’s true theme begins playing again (6:06), closing the loop of the theme.
Based on this musical storytelling, if you already knew the character motifs going into OG, you might’ve suspected something odd was going on with Cloud’s identity, and that Jenova and Sephiroth were involved. All this to say that whatever music is playing at any given time can give us hints as to what is going on. That’s the power and significance of a good soundtrack. Trust me when I say that with Uematsu and his team, we’re in excellent hands. And remember: the story guys tell the soundtrack guys everything.
V. a) ii. Aerith’s Theme
Another base we have to cover before checking out the Remake soundtrack is Aerith’s theme. I’m sure everyone here is familiar with it, but I insist that you refresh your memory. It consists of a section A (0:00-0:34), a section B (0:34-1:13) and a section C (1:13-2:00), concluding with a repeat of section A.
V. a) iii. Motifs and Timing in FFVII OSTs
I’m going to analyze pieces in great detail, which people who haven’t studied or paid attention to soundtracks may find strange. To prevent anyone from making the mistake of thinking that I’m reading too much into things, I want to emphasize that the music that plays during the Remaketrilogy’s cutscenes is carefully timed, composed and arranged to match the events in the cutscenes, as they are provided in advance to the musicians. Composers pay lots of attention to whatever is going on onscreen so they can include the corresponding musical motifs as accompaniment at the exact right moments, always striving to get the timing perfect. I’m not exaggerating the effort and minutia involved in soundtrack composition and arrangement. Here are just a few sound staff comments from the “Material 4: Soundtrack” section of the FFVII Remake Material Ultimania to prove it:

“[To] make sure players really feel the weight of the moment, we worked hard on getting the tempo and the entry timing of each instrument exactly right. In particular, that big ‘boom’ that sounds almost like a meteor crashing down was fine-tuned to match the timing of the logo's appearance. I remember this was a real sticking point for us, because if the boom's timing was even slightly off, the effect would be completely different. We […] had to sequence [each and every sound] to play at exactly the right moment” (Shotaro Shima on track “Midgar, City of Mako”, page 229).

&

“I was originally told to keep this piece to under two minutes, but it ended up being over six minutes long, in order to match the flow of the cutscene. I arranged the track while watching the latest CG visuals that had been rendered for the scene” (Naoyuki Honzawa on track “Smash ‘Em, Rip ‘Em”, page 309).

&

“This is the track that plays during the tour of Shinra’s different divisions. The movie shown in the Visual Entertainment Hall describes the history of the Ancients (0:25 onward in the soundtrack version), and I wanted to create a musical link to them as well, so I made use of the chord progression from ‘Aerith’s Theme’ [D(I)-Am(Vm)-D(I).] [This simple sequence of moving from major to minor and back again creates a really mysterious air. Then, during the section where the movie recounts the history of the construction of the Shinra Building (1:47 onward in the soundtrack version), I quoted a section of the Shinra theme” (Yasunori Nishiki on track “Stewards of the Planet”, page 313).

V. b) The Remake OST
Now that you’re ready, it’s time to verify the Mission Theory’s validity with Remake’s music.
V. b) i. MOTF 6 Music
We were able to explain Remake Cloud’s MOTFs with the Mission Theory, and it just so happens that the music that plays during the scene of MOTF 6 is unique to Remake. This gives us the perfect opportunity: we should analyze the piece that plays as it occurs to evaluate the legitimacy of our theory on the Remake trilogy, using all the motifs we uncovered in section “V. a)”.
First, a refresher on the scene and on our theory’s interpretation of it. The party is gathered in Aerith and Ifalna’s old room at Shinra HQ. Here is how the scene is described by the VA script notes:

“The Whispers once again close in [on Aerith], but Aerith refuses to stop speaking this time.
Aerith: Listen to me. […] Shinra isn’t the enemy. They were the ones who set things in motion, but our true foe is someone else.
At that moment, the spectacle of Meteor they saw in the Visual Entertainment Hall comes into Cloud and the others’ heads.
Aerith: Somehow, some way, I want to help— all of you… the planet…
For some reason, Cloud feels his chest constrict tightly” (FFVII Remake Material Ultimania Plus, VA script notes, “Aerith Speaks”).

Indeed, right after Aerith says she wants to help the planet any way she can, Cloud looks down at his chest with a frown and a quiet grunt (7:46-7:54). According to the Mission Theory, this tightness in Cloud’s chest can be explained as an emergence of post-OG Cloud’s grief, triggered by the slightest allusion to Aerith’s sacrifice.
The piece that plays during this scene is called “Aerith’s Theme - The Cetra”. It is one of many variations of Aerith’s iconic theme arranged for Remake. However, Cloud’s theme is just as prominent in the piece— if not, more.
V. b) i. 1) The Fate Motif
Before we interpret “Aerith’s Theme - The Cetra”, I need to introduce you to one more motif that crops up in the piece. There is a windy motif that appears (from 1:45 onwards) and it is unaccounted for, despite how it’s clearly meant to represent something. I’ve become certain that this wind noise symbolizes fate, and I’ll tell you why.
In the MOTF 6 scene, just after Nanaki explains how he gained knowledge of the Whispers via contact with Aerith (7:23), they emerge and begin swirling aggressively around Aerith (7:26). Her hair and dress blow and ripple in the resulting wind. From this very moment onward “Aerith’s Theme - The Cetra” (3:00), a string section (bowed instruments in the violin family) that deliberately emphasizes the airy sound of the bow crossing the strings enters, creating a windy effect that adds to the already present wind noise (that started at 1:45). As the Whispers progressively become even more aggressive onscreen, both the wind SFX of the cutscene and the wind noise in the piece get louder and louder. Because of the timing of its appearance and crescendo in the cutscene, I’m certain the wind noise is meant to represent the restrictive flow of fate; it only makes sense, given that destiny is a current —or a wind— that cannot be broken, and Aerith is like a helpless petal in fate’s carefully planned storm. Of course, it’s also quite significant that the Whispers make a windy noise as they fly. You can hear it every time they’re onscreen, like when they first appear to Cloud in chapter 2 of Remake (17:45-18:20), or when the White Whispers hold Cloud back from chasing after Aerith during Rebirth’s Sleeping Forest scene in chapter 14 (28:43-29:45). You can also hear the wind sounds in other Whisper-related tracks, such as “Whorl of Whispers” (clearly audible at 2:50-3:05), as well as “A Death Not Ordained by Fate” (clearly audible at 2:56-3:18). Therefore, I’ll call these wind noises the “fate motif”.
V. b) ii. 2) Interpreting “Aerith’s Theme - The Cetra”
In part 1 of “Aerith’s Theme - The Cetra” (0:00-1:45), Aerith’s theme and Cloud’s true theme play simultaneously, their respective phrases fitting perfectly together, interweaving peacefully and softly. It sounds like the two of them are chatting, dancing bashfully yet contently and in perfect sync, glad to be exactly where they’re meant to be as their themes sing together in harmony (soft piano). Part 1 of this piece is about Cloud and Aerith becoming important to one another as they discover their soulmate bond.
Unfortunately that contentment doesn’t last. In part 2 (1:45-3:00), Cloud experiences a moment of psychic vulnerability (world theme’s interference section). Fate lurks (fate motif enters quietly). His instability forces our couple’s sweet dance to a halt, and Aerith’s theme must retreat as Cloud’s confusion takes center stage. Sephiroth torments and taunts him (semi-tone played by strings, 2:03-2:10), taking advantage of Cloud’s psychic interference to plunge him into darkness (world theme’s interference section ends, low cello enters, 2:18): Cloud temporarily becomes a darker version of himself as evil corrupts him (piano plays section A phrases 1 and 2 of Cloud’s true theme in minor, 2:18-2:53). Jenova finally reveals itself and promptly exits, releasing Cloud’s mind from its grasp (seven first notes of parasite motif played twice on piano 2:53-3:00). Cloud is free, but the damage has been done: his dance with Aerith has long been interrupted, and she is gone. Part 2 of “Aerith’s Theme - The Cetra” is about Cloud being manipulated in service of Sephiroth and Jenova’s evil plan, interrupting his interaction with Aerith.
Part 3 (3:00-3:33) kicks off the mechanisms of a tragic fate (strings section joins fate motif, 3:00). Both anxious that she’s disappeared from his side and terrified of the darkness he just discovered inside him (in part 2), Cloud fearfully calls out for Aerith (phrase 1 of Cloud’s true theme’s section A, timid and hesitant piano, 3:04-3:15). Before his psychic interference began (start of part 2), Cloud’s voice was accompanied by Aerith’s as they grew closer and closer (their character themes mingling in part 1)… but now, Aerith isn’t answering his call, and he cannot find her (Aerith’s theme doesn’t to join Cloud’s anymore).
Anxious, Cloud tries calling out for Aerith a second time (section A phrase 2 of Cloud’s true theme’s, 3:19-3:31), searching for her in the hopes that they can continue their dance, but even now, Aerith does not respond. She’s gone (Aerith’s theme remains absent). Destiny keeps Aerith away from Cloud (fate motif gently crescendos). Part 3 of “Aerith’s Theme - The Cetra” is about Cloud’s separation from Aerith, his search for her, and the fear and anxiousness he feels when he realizes he cannot find her.
And then, part 4 begins with a sweet, gentle voice, calling out from the blackened horizon: it’s Aerith (section B phrase 1 of Aerith’s theme, soft piano, 3:33-3:45). Cloud finally hears her respond to his pleas: he’s found her. Fate begins howling in protest, doubling its efforts to keep Cloud and Aerith apart (fate motif crescendos noticeably in reaction to Aerith’s theme, 3:45). You can just picture Cloud running toward Aerith, struggling against the current of destiny to try and close the distance between them. Aerith tries calling out for Cloud a second time, (section B phrase 2 of Aerith’s theme, 3:40-3:43), but the Whispers only swirl around her more ferociously, taking her away in the uncompromising current of fate (fate motif continues to crescendo). Aerith tries again (section B phrase 1 of Aerith’s theme, 3:47-3:49). It sounds like she’s saying “Cloud, I’m over here, come find me!”
Fate doesn’t take too kindly to her defying it. Cloud and Aerith are not supposed to be together; it can’t be, it won’t. She’s destined to die to save the planet, and he’s destined to remain hollow forevermore. I can picture Cloud breaking into a sprint at the sound of her voice, running countercurrent to the flow of destiny— but the winds are so loud, fate’s demands are so strong, and the Whispers are shrieking in defense of destiny now. Aerith’s voice emerges for the fourth time (first three notes of section B phrase 3 of Aerith’s theme, 3:54 to 3:56). Fate screams louder, louder (steep crescendo of fate motif, 3:59-4:02). In a desperate hail Mary, Aerith shouts out one more time, as though throwing her hand out toward Cloud’s extended fingers (section C phrase 1 of Aerith’s theme, louder and more insistent, cutting through the fate motif as it crescendos sharply, 4:00-4:06). Part 4 of “Aerith’s Theme - The Cetra” is about Cloud and Aerith desperately trying to defy fate in order to be together. And then, it all stops: fate has seemingly quieted Aerith (4:04-4:08)…
Part 5 (4:08-4:27) begins with Cloud jumping, launching himself off the ground with all his strength (Cloud’s true theme section A phrase 2, first 5 notes, melody starting on the note E5 and ascending) as Aerith plummets toward the ground in a fatal fall (Aerith’s theme section C phrase 1, melody starting on the note E6 and descending, the last note altered)— he successfully catches her in mid-air (both Cloud’s ascending melody and Aerith’s descending melody meet in the middle of the octave, first uniting on B5, and then ending on A5). I’ve recreated the melodies for you here so you can hear this reunion more clearly. If you consider that the airy strings in this piece represent fate, which I do, the fact that they follow Cloud and Aerith’s themes in part 5 signifies that they are now in control of their own destinies, and successfully making it their fate to reunite.
To be completely frank, I did not realize until right now writing this that Cloud unites with Aerith in part 5, even though his theme is right there. I’m so excited to share this part with you.
We hear Aerith once more, her voice quietly trailing off into the silence (phrase 4 of section C of Aerith’s theme) with no conclusion (phrase 5 normally follows phrase 4 to conclude Aerith’s theme, but is absent here). Part 5 of “Aerith’s Theme - The Cetra” suggests that Cloud will save Aerith and that the couple will change their fate, but also conveys an uncertain and open-ended quality.
(continued in part 5)

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